Laure Saffroy-Lepesqueur, a graduate of the Ecole du Louvre, has devoted several theses to the history of women in art history and attended the Ecole des Beaux-Arts de Rouen, before choosing to devote herself to portraits.
Essentially feminine, walking between the revisited icons and a certain nineteenth-century symbolism, these faces resemble each other as much as they detract from each other: the link between these works is made thanks to the golden color, the artist's favorite choice, both universal and timeless. By reconciling artistic practice and research in art history and women's history, she tries to enhance the value of women's work within these disciplines.
"That's why the icons appear raw, in their simple apparatus. The traditional faces we know about icons have gone. Their emaciated faces then contrast with the golden backgrounds. Surrounded by colorful patterns, buds, glitter, and large flat areas, something is wrong though.
The dark circles are deepening. They are now halos that feel the earth's gravity. They make us realize that behind each icon, there is a portrait. There is someone, with his emotions, with a story, simply. »
Extract from a text by Paul Joubert, for the exhibition Icônes contemporaines, at the Eglise de la Madeleine, Paris.
Une nuit, ou Fragments d'une sainte